Cremoncini Roberta Archivi | Gangemi

Workshop Missoni. Daring to be Different

Segreteria Gangemi Editore spa — Fri, 06 Nov 2009 13:03:00 +0000

The seed of this exhibition was planted over two years ago when Maggie Norden of the London College of Fashion brought to the museum a selection of photographs illustrating her work in progress for the film The Black and White of Colour, which accompanies this exhibition. We could immediately see that the fit between the designs of Missoni and the works in our collection was perfect. Many meetings later, the exhibition started to take shape. It was always important for the Estorick Collection not only to show the beautiful clothes and designs produced by Missoni over their fifty-year career, but also to make our public aware of the close connection between art and the Missonis’ idea of fashion. The link with Futurism is especially strong, not only in terms of the celebratory use of colour and a dynamic, geometric vocabulary, but through the shared belief that applied art can be just as effective a medium for the creative impulse as painting or sculpture. (Roberta Cremoncini, Director Estorick Collection)

Catalogue edited by Paola Noè.

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Frozen in Time

Segreteria Gangemi Editore spa — Thu, 06 Nov 2008 13:03:00 +0000

It is with great pleasure that the Estorick Collection brings a selection of photographs by Vittorio Sella to London for the first time in many years. Sella’s images of the mountainous terrain of five continents are some of the most breathtaking and beautiful images of their kind ever taken – as well as astonishing feats from a technical point of view. From a twenty-first century standpoint, they possess an additional power to move the viewer that Sella could not have foreseen, constituting a salutary reminder of the fragility of such landscapes and the threats they face in our modern world. Although Sella’s visit to Britain in 1892 resulted in a near-death experience (an accident in a train leaving him with a fractured skull) England, and in particular, London, was to be a key reference point for him throughout his career. His knowledge of the language was sufficient for him to correspond in English, his beautiful, largescale view cameras were ordered from and made in London and his photographs were distributed for sale from the capital. London also played its part in fostering Sella’s reputation during his own lifetime. His work was recognised by institutions such as the Alpine Club, the Royal Geographical Society and the Royal Photographic Society. In addition, important books of his photographs were published here, including Douglas Freshfield’s The Exploration of the Caucasus of 1896 and Filippo De Filippi’s account of the Duke of the Abruzzi’s expedition to the Karakoram and the western Himalayas in 1909, as well as the first biography of Sella. Although this reintroduction of Sella to London is long overdue, its timing is perhaps auspicious, on the cusp of the 150th anniversary of his birth next year. Our thanks for making it possible go to Mark Haworth-Booth for his advice and efforts and, of course, to Lodovico and Angelica Sella at the Fondazione Sella in Biella both for their kindness in lending the works that form this exhibition and for all their work in ensuring its realisation. Finally, as ever, I am grateful to all the staff at the Estorick Collection, Harry Hare in particular for his passion for the subject, and everybody who has devoted so much energy and enthusiasm to this project.

Introduction by Roberta Cremoncini

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Cut & Paste

Segreteria Gangemi Editore spa — Thu, 09 Oct 2008 12:03:00 +0000

The manipulation of photographic imagery is as old as photography itself, but the modernist conception of photomontage was a radical extension of techniques and creative attitudes that first emerged in Cubist, Futurist and Dadaist collage, in which cut-out photographs and fragment of newsprint from illustrated journals were pasted into drawings and paintings. This method of combining and manipulating photographic elements was developed towards the end of the FirstWorldWar by Dadaists in Berlin such as John Heartfield, George Grosz, Johannes Baader and Hannah Hoch. Simultaneously, in Moscow young Constructivist artists such as Gustav Klucis, Varvara Stepanove and El Lissitzky began to incorporate ‘photomontage’, full of modernist connotations and derived from engineering and film editing, set the technique apart from traditional artistic practices.

Curated by Lutz Becker, Cut & Paste provides a rediscovery of the sources of modern image making, exploring the work of the great predecessors and innovators who created photomontages by phisical means with scissors, scalpel and retouching brush.

ENGLISH TEXT

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Arte sacra futurista: spiritualità e pragmatismo – Piety and Pragmatism: Spiritualism in Futurist Art

Segreteria Gangemi Editore spa — Wed, 31 Dec 1969 23:00:00 +0000

Nel 1931 viene pubblicato in Italia il Manifesto dell’arte sacra futurista. Dissacrante e tagliente, come sempre, fu presto attaccato per il contrasto con il corrente gusto estetico e per espressioni irridenti la devozione. Pur ribadendo Marinetti l’anticlericalismo, l’attenzione per il sacro rappresenta un allineamento al Concordato fra Stato e Chiesa del 1929. In realtà, l’arte sacra era già praticata da alcuni futuristi, caratterizzandosi per esempi di deciso rinnovamento di un linguaggio ormai obsoleto. Il Futurismo, la cui religione era stata per anni quella del progresso e della macchina, si accorge di essersi spinto oltre i confini del tempo e della materia, là dove solo lo spirito può aleggiare. La Estorick Collection of Modern Italian Art di Londra e il Ministero degli Esteri italiano, anche in vista del Centenario della fondazione del Futurismo (1909), presentano questa mostra, la prima nel suo genere, che consente un’ampia rilettura di questo sviluppo futurista fino ad ora poco studiato e conosciuto, attraverso le opere dei maggiori esponenti del movimento attivi all’epoca, a partire da Giacomo Balla, Fillia e Gerardo Dottori.
The ‘Manifesto of Futurist Sacred Art’ was published in 1931. Irreverent and acerbic, as always, it was swiftly denounced for its radical ideas, which clashed with prevailing tastes. Despite Marinetti’s anticlericalism, Futurist engagement with religious themes was attuned to the 1929 Concordat between Church and State, although in reality certain members of the movement had been creating such works for several years, aiming to modernise an obsolete and anachronistic vocabulary. Futurism – which had initially recognised progress and the machine as its only religions – increasingly felt an impulse to transcend time and matter and to strive for a more spiritual interpretation of modern life.The Estorick Collection of Modern Italian Art and the Italian Ministry of Foreign Affairs present this exhibition – which is the first of its kind – in anticipation of Futurism’s centenary in 2009. It provides a comprehensive overview of this little-studied aspect of Futurist art through works by many of the movement’s major exponents, including Giacomo Balla, Fillia and Gerardo Dottori.

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Estorick collection of modern italian art

Segreteria Gangemi Editore spa — Wed, 31 Dec 1969 23:00:00 +0000

Opere di:
Giacomo Balla, Umberto Boccioni, Massimo Campigli, Carlo Carrà, Giorgio de Chirico, Gerardo Dottori, Corrado Govoni, Emilio Greco, Renato Guttuso, Giacomo Manzù, Marino Marini, Amedeo Modigliani, Giorgio Morandi, Zoran Music, Ottone Rosai, Medardo Rosso, Luigi Russolo, Giuditta Scalini, Gino Severini, Mario Sironi, Ardengo Soffici e molti altri artisti.
As the Estorick Collection turns ten years old, I am delighted to congratulate it on a series of outstanding achievements.

I wish to pay tribute to a wonderful collection of Italian artwork created during the first half of the twentieth century, whose existence we owe to the passion and tireless commitment of Eric Estorick. In 1970, Mr Estorick
was bestowed with the honour of Commendatore in the Order of Merit of the Italian Republic for his role in promoting Italian art in the United Kingdom. A few months before passing away, he succeeded in establishing the Foundation – now chaired by his son Michael – that created this Museum in 1998. Here, his passion to share these treasures with the public lives on.

The gallery is committed to promoting a period in Italian art which is less popular than the Renaissance and Baroque eras. In this way, while helping to establish a wider appreciation of contemporary Italian art, it supports our efforts to update Italy’s image abroad. I am particularly proud that some of the artworks on display here not only testify to the flourishing of remarkable creativity between 1900 and 1950, but also celebrate a number of Italian movements that exerted a substantial influence on foreign artists.
The Italian Government, and specifically the Ministry of Foreign Affairs, supports the Collection and its numerous activities. The Embassy is closely involved and we enjoy excellent cooperation with the Director, Roberta Cremoncini. The museum very often hosts temporary exhibitions that shed light on a particular Italian artist or trend, enabling the British public to become acquainted with unusual aspects of Italian art through innovative and provocative shows.

I wish the Estorick Collection every success, and the ongoing ability to surprise and delight all of us.

The Italian Ambassador
Giancarlo Aragona

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